I examine the difficulties that several philosophers of language are liable to encounter in their attempts to provide an account of the connection between truth and assertion. I then attempt to provide an account of this connection. The analysis is concerned chiefly with difficulties which consist in elucidating the conceptual connection between truth and assertion in a way that respects certain linguistic intuitions while at the same time rendering the concept of truth amenable to a semantic interpretation. The proposed view (...) suggests one way in which we might go about meeting the theoretical demands implicit in addressing this concern, among others, demonstrating the extent to which a theory of truth should be regarded as belonging to the province of epistemology. Insofar as semantical considerations figure into such a theory, a more systematic investigation of the interface between epistemology and natural language semantics is recommended. The solution to many problems at this interface, I argue, lay in an analysis of judgment. (shrink)

Theories of cognition and theories of social practices and institutions have often each separately acknowledged the relevance of the other; but seldom have there been consistent and sustained attempts to synthesize these two areas within one explanatory framework. This is precisely what my dissertation aims to remedy. I propose that certain recent developments and themes in philosophy of mind and cognitive science, when understood in the right way, can explain the emergence and dynamics of social practices and institutions. Likewise, the (...) view I construct explains how social practices and institutions shape the character of cognition of their constituent agents. Moreover, I explain both cognitive and social agency under the single explanatory framework provided by Dynamic Systems Theory. Drawing upon the phenomenological tradition, "embodied, "extended", "embedded", "enactive", and "ecological" approaches to cognition, as well as the conceptual resources of Dynamic Systems Theory, I construct a theory of agency that sees cognitive and social agents as far-from-equilibrium, open, recursively self-maintenant dynamic systems. Depending on the specifics of concrete circumstances, such systems, which I call "Dynamic Embodied Agents", may develop and possess emergent capacities for error-detection, flexible learning, normative behavior, representation, self-reflection, various modes of pattern-recognition, a temporal sense of self, and even moral responsibility. Some such systems are also sensitive to perceived social influences ; while reciprocally constituting and causally affecting them. (shrink)

Many philosophers worry that cognitive scientists apply the concept REPRESENTATION too liberally. For example, William Ramsey argues that scientists often ascribe natural representations according to the “receptor notion,” a causal account with absurd consequences. I rehabilitate the receptor notion by augmenting it with a background condition: that natural representations are ascribed only to systems construed as organisms. This Organism-Receptor account rationalizes our existing conceptual practice, including the fact that scientists in fact reject Ramsey’s absurd consequences. The Organism-Receptor account raises some (...) worrying questions, but as a more faithful characterization of scientific practice it is a better guide to conceptual reform. (shrink)

The project of this chapter is to explore some relations between the rule-following considerations and radical interpretation. I spell out the sense in which the rule-following considerations are about meaning determination, and investigate whether the principle of meaning determination used in the early Davidson's account of meaning determination - the principle of charity - provides an answer to what I shall call "Wittgenstein's paradox". More precisely, I am interested in one aspect of the paradox: the "problem of objectivity". My question (...) then is whether meaning, as determined by charity, is such that the correctness of the applications of meaningful expressions is an objective matter. After running us through the basics of the radical interpretation account of meaning determination I argue that the principle of charity does seem to fall prey to the problem of objectivity. After unsuccessfully trying to rescue objectivity by means of Lewisian natural properties, this is the verdict I in the end endorse. (shrink)

Recently, Casasanto and Lupyan have asserted that there are no context-independent concepts: all concepts are constructed ad hoc when they are instantiated. My aim is to show that the ad hoc cognition framework can be characterized by a similarity-based theory of concepts, and that two different notions of concept should be distinguished —which may be identified with two distinct stages of their life cycle. This approach brings together virtues from opposing views: invariantist: stored concepts are stable enough to collect new (...) information; contextualist: instantiated concepts are context-dependent, what explains our adaptive ability to changing environments. (shrink)

Some​ ​propositions​ ​are​ ​not​ ​only​ ​true,​ ​but​ ​could​ ​not​ ​have​ ​been​ ​otherwise. This​ ​thesis​ ​is​ ​about​ ​modality​ ​and​ ​the​ ​philosophy​ ​of​ ​language.​ ​Its​ ​centrepiece​ ​is​ ​a​ ​new​ ​account​ ​of the​ ​conditions​ ​under​ ​which​ ​a​ ​proposition​ ​is​ ​necessarily​ ​true​ ​in​ ​the​ ​above​ ​sense.

This Master of Arts thesis is in two parts: a novel, An Anarchy of Man, and an exegesis which places the novel in relation to philosophical concerns about the self and the way those concerns are portrayed in selected works of Western literature. The novel is set in Canberra and Sydney and tells the story of the relationship between two characters: Joe and Gin. It explores the way we in the modern Western world think about ourselves and those around us. (...) Chapter One considers the view of the self in the work of the philosopher Rene Descartes and explores how this view is portrayed in three contemporary Australia novels, and in An Anarchy of Man. Chapter Two examines post-Cartesian views of the self, especially those in the work of the philosopher Ludwig Wittgenstein, and then considers the way the self is portrayed in Proust's Remembrance of Things Past, and in my own An Anarchy of Man. Chapter Three examines postmodern conceptions of the self and considers how these conceptions are portrayed in the work of the contemporary American novelist Don DeLillo and in my own An Anarchy of Man. (shrink)

In a Covid-19 world, everyone’s circumstances changed. Most of us are living and or working in quarantine or lockdown. There is evidence that lockdown itself can have serious negative psychological impact (Brooks et al., 2020). Nonetheless, strategies are being proposed which, arguably, mitigate these harms. Artmaking is one such strategy. As ‘art therapy’, it has been usefully deployed to address a wide range of mental health challenges including anxiety, depression, fatigue and post-traumatic stress (Regev & Cohen-Yatziv, 2018). Given that these (...) self-same impacts profile the mental health challenges identified in relation to pandemic isolation, art may be useful in mitigating mental health issues associated with lockdown. This paper does not address how the role art can play in the therapeutic mix for serious mental health disorders. More specifically it is focused on a narrower brief of ills – predominantly those associated with boredom and a loss of stimulation associated with the constrained circumstances of lockdown. The kind of ‘art therapy’ this paper has in mind is more accurately described as ‘art engagement’ as it concerns individuals actively engaging with art. Art engagement is taken as self-administered utilising the time-out imposed by lockdown as an opportunity to take stock and reset. I will argue that to be of optimal benefit to people in lockdown, the art engagement model should support art practices that are easily accessible to a wide range of people, and be broadly scoped regarding areas to explore. Finally, because the benefits flowing from art engagement are central to this quest, our art engagement model will need to be able to track how art enriches or impoverishes its practitioners. This paper will set up a framework for art engagement that provides an apt account of art practices suited to people in lockdown. I will examine how the resolution of two art puzzles point the way forward in developing an art engagement model. Adventitiously, understanding these puzzles will also prove useful for art making in constrained living arrangements. Managing the first of these puzzles requires a rejection of the notion that art can be determinately defined. Instead we opt for a model that privileges practices and products that enrich the lives of practitioners. The second puzzle assumes creativity relies to varying degrees on appropriation and so appropriation acts need to be included in the model. However, this comes at a cost. Appropriation disrupts any notion that art works are stable things situated forever in the realm of art. It will be shown that appropriation causes us to adopt a more expansive view about the fluidity of what counts as an artwork. This fluidity may take us into and out of the realm of what is traditionally thought of as ‘art’ entirely and leads us to abandon any dependency on art masters and art institutions in our artmaking quests. The paper will conclude by using the model described to outline three art engagement examples that demonstrate how sometimes ordinary everyday experiences can be enriched by taking an art-engaging stance even in the highly constrained environment of lockdown. (shrink)

Starting from the current trend to digitise the university, this thesis aims to clarify the specific relation between university thinking and its use of media. This thesis is an investigation concerning the sensorial and medial conditions which enable the event of thinking to emerge at the university, i.e. conditions which do not make thinking necessary, but possible. Thinking is approached as an event which can happen while studying at the university, not as an outcome, nor a disposition or skill. The (...) ambition of this thesis is theory development and of making a contribution in the field of philosophy of education. The theoretical framework discussed in chapters one and two will allow first, an analysis of the university sensorium inspired by the work of Ivan Illich who, through a history of the senses, pioneered this kind of research applied to medieval reading practices. Secondly, the work of media philosopher Vilém Flusser is used to operationalize the analysis of media at the university; this thesis will use the Flusserian concepts of code, modes of consciousness, transcoding, gestures, intellectual field, dialogue and apparatus. The methodology consists of a novel approach inspired by Flusser’s phenomenology of gestures: in order to find traces of thinking, this investigation looks for gestures (with media) occurring in university practices, gestures which seem to imply some form of coding or transcoding. The first chapter critically discusses Ivan Illich’s historical hypothesis of the mediatic specificity of the university thinking. Illich works with a particular conception of the history of the senses through which he shows how the invention of the optical text and its way of reading gave rise to a new way of thinking which was later fostered by the university. The text emerges as an instrumental way of using the book for studying and thinking, a profanation and suspension of the book. This move is taken to be the signature move of the university which enables a particular way of thinking: abstract and non-visual thinking, which is made present through the event of reading. The second chapter introduces the media-theoretical framework of Flusser by discussing his particular take on codes and the modes of consciousness enabled by the dominant codes. Provisionally, transcoding is taken to be an indication of the event of thinking. The threshold introduces the approach of a phenomenology of gestures which will be used in the following two chapters. The third chapter examines the practice of university lecturing from a sensorial and gestural perspective by using several direct observations of lectures and historical reports of lectures. It was found that the lecture does not promote any particular sense, hence no particular mode of consciousness, and that the media in the lecture suffers a continuous transcoding. Thinking in the lecture was described as a thinking which suddenly makes itself present for all those attending the lecture. The fourth chapter examines MOOCs which are taken to be the digital counterpart of the university course. The specific media usage enabled by MOOCs is described starting from two case studies: an xMOOC and the bMOOC (designed by KU Leuven and LUCA researchers). Using interviews and an autoethnographic account, this chapter finds indications of what could be digital gestures in the MOOC and concludes that thinking in the MOOC occurs as a collective construction of a techno-image. The fifth and final chapter outlines the theoretical contributions of this thesis. The kind of thinking made possible by university practices is described as a form of collective thinking, non-productive and anti-apparatus. The ways in which this thinking is made possible are theorised by introducing the notion of mediatic displacement, a specific event in which the particular logic of media is suspended in such a way as to make room for a thinking which is not determined by any mediality. The notion of intellectual askesis is proposed for the collective enactment of attention, as the sensorial condition which makes possible the mediatic displacement. In light of these findings, the thesis proposes to understand the promise of the digital university as still a utopian project to come, because it cannot yet enable the sensorial and collective attention techniques which the classical university managed to enact through its study practices. (shrink)

This article argues that the representation of animals in Romantic poetry contributes to the contemporary philosophical and ethical discussion of the question of animals by providing a literary expression of the latter. Conversely, reading depictions of animals in Romantic poetry with their philosophical implications in mind throws light on the oppositions between different human groups, such as between Orientals and Occidentals, or between males and females, in Romantic poetry. These categories connect with each other in different ways in the works (...) of three prominent Romantic poets: William Wordsworth, Lord Byron and Alexander Pushkin. Animals in their poetry reflect their views of various entities falling under the category of the self and that of the other; and indicate the relationships of these entities with such concepts as language, difference, passivity and subjectivity. These concepts find their formulations in the contemporary philosopher Jacques Derrida’s writing on the question of the animals. My analysis will focus on three poems: Wordsworth’s “There was a Boy”, Byron’s “Childe Harold’s Pilgrimage” and Pushkin’s “The Fountain of Bakhchisaray”. It will offer a reading of them side by side with Derrida’s essay “And Say the Animal Responded”. (shrink)

In the previous paper I resituated Peter Singer's Animal Liberation within the larger context of the historical development of the animal activist movement. This paper directly follows on from the previous one, but here I take a closer at the book itself, focusing on 'Tools for Research', the second chapter in which Singer discusses animal experimentation particularly. My aim is to draw attention to the tactics adopted by Singer, which given the historical development of the movement, as detailed previously, are (...) indeed activist, and offer some account of why they are morally persuasive. (shrink)

JEL Classification: B41, B53, B31, B2, P48, A12 Abstract: Wittgenstein’s rule-following paradox has important implications for two aspects of Austrian theory. First, it makes it possible to reconcile the Misesian, Rothbardian, and hermeneutical approaches to methodology; second, it provides a way of defending a stateless legal order against the charge that such an order lacks, yet needs, a final arbiter.

In this paper, I shall discuss the issue whether the standard meter in Paris is in fact one meter long. Whether one could meaningfully assert this proposition depends on how the unit of length a meter is defined. I would like to suggest three conceivable definitions. One meter long is everything that has the same length as an arbitrary chosen rod S now has. According to the second definition one meter long is everything that coincides in the endpoints with the (...) rod S when placed alongside. The third definition states that one meter long is-in a literal sense-the rod S solely. Other objects are one meter long-although in a derived sense-if they coincide in the endpoints with S when placed alongside. The first definition is in essence the standpoint of Kripke, the second one can be attributed to Wittgenstein, the last definition is the proposal I would like to advocate here. In particular, I hold that the third definition can be attributed to Wittgenstein as well. A language-game of measuring presupposes a preparatory game of fixing a unit of measure. The meaning of the expression "standard meter" must thus be derived from this preparatory game. Therefore with all other objects, one can say only in a derived sense that they are one meter long or not. (shrink)